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Sesame Street
| runtime = | creator = | producer = | starring = | opentheme = "Can You Tell Me How to Get to Sesame Street?" | endtheme = | theme_music_composer = | location = | company = Sesame Workshop (formerly known as Children's Television Workshop) | distributor = WarnerMedia Entertainment (Seasons 51-present) | country = United States | language = English | network = |picture_format = | audio_format = | first_aired = | last_aired = present | num_seasons = 50 | num_episodes = 4,514 | preceded_by = | followed_by = | related = | website = http://www.sesamestreet.org/ }} Sesame Street is an American educational children's television series that combines live action, sketch comedy, animation and puppetry. It is produced by Sesame Workshop (known as the Children's Television Workshop (CTW) until June 2000) and was created by Joan Ganz Cooney and Lloyd Morrisett. The program is known for its images communicated through the use of Jim Henson's Muppets, and includes short films, with humor and cultural references. The series premiered on November 10, 1969, to positive reviews, some controversy, and high viewership; it has aired on the U.S.'s national public television provider PBS since its debut, with its first run moving to premium channel HBO on January 16, 2016. The format of Sesame Street consists of a combination of commercial television production elements and techniques which have evolved to reflect the changes in American culture and the audience's viewing habits. With the creation of Sesame Street, producers and writers of a children's television show used, for the first time, educational goals and a curriculum to shape its content. It was also the first time a show's educational effects were formally studied. The show, therefore, has undergone significant changes in its history as adjustments to the format and content have been made to reflect change sources to the curriculum. Shortly after creating Sesame Street, its producers developed what came to be called the "CTW model" (after the production company's previous name), a system of television show planning, production, and evaluation based on collaborations between producers, writers, educators, and researchers. The show was initially funded by government and private foundations but has become somewhat self-supporting due to revenues from licensing arrangements, international sales, and other media. By 2006, there were independently produced versions, or "co-productions", of Sesame Street broadcast in twenty countries. In 2001, there were over 120 million viewers of various international versions of Sesame Street, and by the show's 40th anniversary in 2009, it was broadcast in more than 140 countries. Sesame Street was by then the fifteenth-highest-rated children's television show in the United States. A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old. In 2018, it was estimated that 86 million Americans had watched the series as children. As of 2018, Sesame Street has won 189 Emmy Awards and 11 Grammy Awards, more than any other children's show. History Sesame Street was conceived in 1966 during discussions between television producer Joan Ganz Cooney and Carnegie Foundation vice president Lloyd Morrisett. Their goal was to create a children's television show that would "master the addictive qualities of television and do something good with them",Davis, p. 8 such as helping young children prepare for school. After two years of research, the newly formed Children's Television Workshop (CTW) received a combined grant of US$8 million ($ }} million in dollars) from the Carnegie Foundation, the Ford Foundation, the Corporation for Public Broadcasting and the U.S. Federal Government to create and produce a new children's television show.Finch, p. 53 The program premiered on public television stations on November 10, 1969. It was the first preschool educational television program to base its contents and production values on laboratory and formative research.Palmer & Fisch in Fisch & Truglio, p. 9 Initial responses to the show included adulatory reviews, some controversy, and high ratings. By its 50th anniversary in 2019, there were over 150 versions of Sesame Street, produced in 70 languages. As of 2006, 20 international versions had been produced. in 1985]] , co-creator]] According to writer Michael Davis, by the mid-1970s Sesame Street the show had become "an American institution".Davis, p. 220 The cast and crew expanded during this time, with emphasis on the hiring of women crew members and the addition of minorities to the cast. The show's success continued into the 1980s. In 1981, when the federal government withdrew its funding, CTW turned to, and expanded, other revenue sources, including its magazine division, book royalties, product licensing, and foreign broadcast income.O'Dell, pp. 73-74 Sesame Street s curriculum has expanded to include more affective topics such as relationships, ethics, and emotions. Many of the show's storylines were taken from the experiences of its writing staff, cast, and crew, most notably, the 1982 death of Will Lee—who played Mr. Hooper —and the marriage of Luis and Maria in 1988.Borgenicht, p. 80 By the end of the 1990s, Sesame Street faced societal and economic challenges, including changes in viewing habits of young children, competition from other shows, the development of cable television, and a drop in ratings.Davis, p. 320 After the turn of the 21st century, Sesame Street made major structural changes. For example, starting in 2002, its format became more narrative and included ongoing storylines. After its thirtieth anniversary in 1999, due to the popularity of the Muppet Elmo the show also incorporated a popular segment known as "Elmo's World". In 2009, the show was awarded the Outstanding Achievement Emmy for its 40 years on the air. In late 2015, in response to "sweeping changes in the media business", and as part of a five-year programming and development deal, premium television service HBO began airing first-run episodes of Sesame Street. Episodes became available on PBS stations and websites nine months after they aired on HBO. The deal allowed Sesame Workshop to produce more episodes, about 35 new episodes per season, compared to the 18 episodes per season it aired previously, and provided the opportunity to create a spinoff series with the Sesame Street Muppets and a new educational series. As of the show's 50th anniversary in 2019, Sesame Street has produced over 4,500 episodes, 35 TV specials, 200 home videos, and 180 albums. Its YouTube channel has almost 5 million subscribers. It was announced in October 2019 that first-run episodes will move to HBO Max beginning with its 51st season in 2020. Format From its first episode, Sesame Street has structured its format by using "a strong visual style, fast-moving action, humor, and music," as well as animation and live-action short films.O'Dell, p. 70 When Sesame Street premiered, most researchers believed that young children did not have long attention spans; therefore, the new show's producers were concerned that an hour-long show would not hold their audience's attention. At first, the show's "street scenes"—the action taking place on its set—consisted of character-driven interactions and were not written as ongoing stories. Instead, they consisted of individual, curriculum-based segments which were interrupted by "inserts" consisting of puppet sketches, short films, and animations. This structure allowed the producers to use a mixture of styles and characters, and to vary the show's pace. By season 20, research had shown that children were able to follow a story, and the street scenes, while still interspersed with other segments, became evolving storylines.Morrow, p. 87Gikow, p. 179 Upon recommendations by child psychologists, the producers initially decided that the show's human actors and Muppets would not interact because they were concerned it would confuse young children.Fisch & Bernstein, p. 39 When the CTW tested the appeal of the new show, they found that although children paid attention to the shows during the Muppet segments, their interest was lost during the "Street" segments.Gladwell, p. 105 The producers requested that Henson and his team create Muppets such as Big Bird and Oscar the Grouch to interact with the human actors, and the Street segments were re-shot.Gladwell, p. 106Fisch & Bernstein, pp. 39—40 Sesame Street s format remained intact until the 2000s, when the changing audience required that producers move to a more narrative format. In 1998, the popular "Elmo's World", a 15-minute-long segment hosted by the Muppet Elmo, was created.Clash, p. 75 Starting in 2014, during the show's 45th season, the producers introduced a half-hour version of the program. The new version, which originally complemented the full-hour series, was both broadcast weekday afternoons and streamed on the Internet. In 2017, in response to the changing viewing habits of toddlers, the show's producers decreased the show's length from one hour to thirty minutes across all its broadcast platforms. The new version focused on fewer characters, reduced the pop culture references "once included as winks for their parents", and focused "on a single backbone topic". Educational goals Author Malcolm Gladwell said that "Sesame Street was built around a single, breakthrough insight: that if you can hold the attention of children, you can educate them".Gladwell, p. 100 Gerald S. Lesser, the CTW's first advisory board chair, went even further, saying that the effective use of television as an educational tool needed to capture, focus, and sustain children's attention.Lesser, p. 116 Sesame Street was the first children's show to structure each episode, and the segments within them, to capture children's attention, and to make, as Gladwell put it, "small but critical adjustments" to keep it.Gladwell, p. 91 According to CTW researchers Rosemarie Truglio and Shalom Fisch, Sesame Street was one of the few children's television programs to utilize a detailed and comprehensive educational curriculum, garnered from formative and summative research. The creators of Sesame Street and their researchers formulated both cognitive and affective goals for the show. Initially, they focused on cognitive goals, while addressing affective goals indirectly, in the belief that doing so would increase children's self-esteem and feelings of competency.Morrow, pp. 76, 106 One of their primary goals was preparing young children for school, especially children from low-income families,Lesser, p. 46 using modeling,Lesser, pp. 86–87 repetition,Lesser, p. 107 and humor to fulfill these goals. They made changes in the show's content to increase their viewers' attention and to increase its appeal,Lesser, p. 87 and encouraged "co-viewing" to encourage older children and parents to watch the show by including more sophisticated humor, cultural references, and celebrity guest appearances. |group=note}} participates with Big Bird in an educational taping of Sesame Street at United Studios, 1989.]] participates in a Let's Move! and Sesame Street public service announcement taping with Big Bird in the White House Kitchen, 2013.]] meets with Sesame Street's character Grover to talk about refugees at the United Nations in New York City, 2016.]] After Sesame Street s first season, its critics forced its producers and researchers to address more overtly such affective goals as social competence, tolerance of diversity, and nonaggressive ways of resolving conflict. These issues were addressed through interpersonal disputes among its Street characters. During the 1980s, the show incorporated the real-life experiences of the show's cast and crew, including the death of Will Lee (Mr. Hooper) and the pregnancy of Sonia Manzano (Maria) to address affective concerns. In later seasons, Sesame Street addressed real-life disasters such as the September 11 terrorist attacks and Hurricane Katrina.Gikow, p. 165 The show's goals for outreach were addressed through a series of programs that first focused on promotion and then, after the first season, on the development of educational materials used in preschool settings. Innovative programs were developed because their target audience, children and their families in low-income, inner-city homes, did not traditionally watch educational programs on television and because traditional methods of promotion and advertising were not effective with these groups.Gikow, p. 181 Starting in 2006, the Workshop expanded its outreach by creating a series of PBS specials and DVDs focusing on how military deployment affects the families of soldiers.Gikow, pp. 280–281 The Workshop's outreach efforts also focused on families of prisoners, health and wellness, and safety.Gikow, pp. 286–293 In 2013, SW started Sesame Street in Communities, a branch of their outreach efforts, to help families dealing with difficult issues. Funding As a result of Cooney's initial proposal in 1968, the Carnegie Institute awarded her an $1 million grant to create a new children's television program and establish the CTW,Palmer & Fisch in Fisch & Truglio, p. 3 renamed in June 2000 to Sesame Workshop (SW). Cooney and Morrisett procured additional multimillion-dollar grants from the U.S. federal government, The Arthur Vining Davis Foundations, CPB, and the Ford Foundation. Davis reported that Cooney and Morrisett decided that if they did not procure full funding from the beginning, they would drop the idea of producing the show.Davis, p. 105 As Lesser reported, funds gained from a combination of government agencies and private foundations protected them from the economic pressures experienced by commercial broadcast television networks, but created challenges in procuring future funding.Lesser, p. 17 After Sesame Street s initial success, its producers began to think about its survival beyond its development and first season and decided to explore other funding sources. From the first season, they understood that the source of their funding, which they considered "seed" money, would need to be replaced.Davis, p. 203 The 1970s were marked by conflicts between the CTW and the federal government; in 1978, the U.S. Department of Education refused to deliver a $2 million check until the last day of CTW's fiscal year. As a result, the CTW decided to depend upon licensing arrangements with toy companies and other manufacturers, publishing, and international sales for their funding. In 1998, the CTW accepted corporate sponsorship to raise funds for Sesame Street and other projects. For the first time, they allowed short advertisements by indoor playground manufacturer Discovery Zone, their first corporate sponsor, to air before and after each episode. Consumer advocate Ralph Nader, who had previously appeared on Sesame Street, called for a boycott of the show, saying that the CTW was "exploiting impressionable children". In 2015, in response to funding challenges, it was announced that premium television service HBO would air first-run episodes of Sesame Street. Steve Youngwood, SW's Chief Operating Officer, called the move "one of the toughest decisions we ever made". According to The New York Times, the move "drew an immediate backlash". Critics claimed that it favored privileged children over less-advantaged children and their families, the original focus of the show. They also criticized choosing to air first-run episodes on HBO, a network with adult dramas and comedies. Production Research Producer Joan Ganz Cooney has stated, "Without research, there would be no Sesame Street".Cooney in Fisch & Truglio, p. xi In 1967, when Cooney and her team began to plan the show's development, combining research with television production was, as she put it, "positively heretical". Shortly after creating Sesame Street, its producers began to develop what came to be called "the CTW model", a system of planning, production, and evaluation that did not fully emerge until the end of the show's first season.Morrow, p. 68 According to Morrow, the CTW model consisted of four parts: "the interaction of receptive television producers and child science experts, the creation of a specific and age-appropriate curriculum, research to shape the program directly, and independent measurement of viewers' learning". Cooney credited the show's high standard in research procedures to Harvard professors Gerald S. Lesser, who the CTW hired to design the show's educational objectives, and Edward L. Palmer, who was responsible for conducting the show's formative research and for bridging the gap between the show's producers and researchers.Cooney in Fisch & Truglio, p. xii The CTW conducted research in two ways: in-house formative research that informed and improved production,Mielke in Fisch & Truglio, pp. 84–85 and independent summative evaluations, conducted by the Educational Testing Service (ETS) during the show's first two seasons, which measured its educational effectiveness. Cooney stated, "From the beginning, we—the planners of the project—designed the show as an experimental research project with educational advisers, researchers, and television producers collaborating as equal partners".Borgenicht, p. 9 Cooney also described the collaboration as an "arranged marriage". Writing Sesame Street has used many writers in its long history. As Peter Hellman wrote in his 1987 article in New York Magazine, "The show, of course, depends upon its writers, and it isn't easy to find adults who could identify the interest level of a pre-schooler". Fifteen writers a year worked on the show's scripts, but very few lasted longer than one season. Norman Stiles, head writer in 1987, reported that most writers would "burn out" after writing about a dozen scripts. According to Gikow, Sesame Street went against the convention of hiring teachers to write for the show, as most educational television programs did at the time. Instead, Cooney and the producers felt that it would be easier to teach writers how to interpret curriculum than to teach educators how to write comedy.Gikow, p. 178 As Stone stated, "Writing for children is not so easy". Long-time writer Tony Geiss agreed, stating in 2009, "It's not an easy show to write. You have to know the characters and the format and how to teach and be funny at the same time, which is a big, ambidextrous stunt".Gikow, p. 174 , where Sesame Street is taped]] The show's research team developed an annotated document, or "Writer's Notebook", which served as a bridge between the show's curriculum goals and script development.Lesser, p. 101 The notebook was a compilation of programming ideas designed to teach specific curriculum points,Morrow, p. 82 provided extended definitions of curriculum goals, and assisted the writers and producers in translating the goals into televised material.Palmer & Fisch in Fisch & Truglio, p. 10 Suggestions in the notebook were free of references to specific characters and contexts on the show so that they could be implemented as openly and flexibly as possible.Palmer & Fisch in Fisch & Truglio, p. 11 The research team, in a series of meetings with the writers, also developed "a curriculum sheet" that described the show's goals and priorities for each season. After receiving the curriculum focus and goals for the season, the writers met to discuss ideas and story arcs for the characters, and an "assignment sheet" was created that suggested how much time was allotted for each goal and topic. When a script was completed, the show's research team analyzed it to ensure that the goals were met. Then each production department met to determine what each episode needed in terms of costumes, lights, and sets. The writers were present during the show's taping, which for the first twenty-four years of the show took place in Manhattan, and after 1992, at the Kaufman Astoria Studios in Queens to make last-minute revisions when necessary. Media Early in their history Sesame Street and the CTW began to look for alternative funding sources and turned to creating products and writing licensing agreements. They became, as Cooney put it, "a multiple-media institution".Cherow-O'Leary in Fisch & Truglio, p. 197 In 1970, the CTW created a "non-broadcast" division responsible for creating and publishing books and Sesame Street Magazine.Cherow-O'Leary in Fisch & Truglio, pp. 197–198 By 2019, the Sesame Workshop had published over 6,500 book titles. The Workshop decided from the start that all materials their licensing program created would "underscore and amplify"Davis, p. 205 the show's curriculum. In 2004, over 68% of Sesame Street s revenue came from licenses and products such as toys and clothing. By 2008, the Sesame Street Muppets accounted for between $15 million and $17 million per year in licensing and merchandising fees, split between the Sesame Workshop and The Jim Henson Company.Davis, p. 5 By 2019, the Sesame Workshop had over 500 licensing agreements and had produced over 200 hours of home video. There have been two theatrically-released Sesame Street movies, Follow That Bird, released in 1985, and Elmo in Grouchland, released in 1999. In early 2019, it was announced that a third film, a musical co-starring Anne Hathaway and written and directed by Jonathan Krisel, would be produced. In November 2019, Sesame Street announced a family friendly augmented reality application produced by Weyo in partnership with Sesame Workshop in honor of the show's 50th anniversary. Jim Henson, the creator of the Muppets, owned the trademarks to those characters, and was reluctant to market them at first. He agreed when the CTW promised that the profits from toys, books, computer games, and other products were to be used exclusively to fund the CTW and its outreach efforts.Gikow, p. 268 Even though Cooney and the CTW had very little experience with marketing, they demanded complete control over all products and product decisions. Any product line associated with the show had to be educational and inexpensive, and could not be advertised during the show's airings.Davis, p. 204 As Davis reported, "Cooney stressed restraint, prudence, and caution" in their marketing and licensing efforts. Director Jon Stone, talking about the music of Sesame Street, said: "There was no other sound like it on television".Gikow, p. 220 For the first time in children's television, the show's songs fulfilled a specific purpose and supported its curriculum.Gikow, p. 227 In order to attract the best composers and lyricists, the CTW allowed songwriters like Joe Raposo, Sesame Street s first musical director, to retain the rights to the songs they wrote, which earned them lucrative profits and helped the show sustain public interest.Davis, p. 256 By 2019, there were 180 albums of Sesame Street music produced, and its songwriters had received 11 Grammys. In late 2018, the SW announced a multi-year agreement with Warner Music Group to re-launch Sesame Street Records in the U.S. and Canada. For the first time in 20 years, "an extensive catalog of Sesame Street recordings" was made available to the public in a variety of formats, including CD and vinyl compilations, digital streaming, and downloads. Sesame Street used animations and short films commissioned from outside studios, interspersed throughout each episode, to help teach their viewers basic concepts like numbers and letters.Morrow, p. 89 Jim Henson was one of the many producers to create short films for the show.Gikow, p. 236 Shortly after Sesame Street debuted in the United States, the CTW was approached independently by producers from several countries to produce versions of the show at home. These versions came to be called "co-productions".Cole et al. in Fisch & Truglio, p. 148 By 2001 there were over 120 million viewers of all international versions of Sesame Street,Cole et al. in Fisch & Truglio, p. 147 and in 2006, there were twenty co-productions around the world. By its 50th anniversary in 2019, 190 million children viewed over 160 versions of Sesame Street in 70 languages. In 2005, Doreen Carvajal of The New York Times reported that income from the co-productions and international licensing accounted for $96 million. Cast, crew and characters , creator of the Muppets, in 1989]] with Oscar the Grouch]] Shortly after the CTW was created in 1968, Joan Ganz Cooney was named its first executive director. She was one of the first female executives in American television. Her appointment was called "one of the most important television developments of the decade".Davis, pp. 128–129 She assembled a team of producers, all of whom had previously worked on Captain Kangaroo. Jon Stone was responsible for writing, casting, and format; Dave Connell took over animation; and Sam Gibbon served as the show's chief liaison between the production staff and the research team.Davis, p. 147 Cameraman Frankie Biondo worked on Sesame Street from its first episode.Gikow, p. 15 Jim Henson and the Muppets' involvement in Sesame Street began when he and Cooney met at one of the curriculum planning seminars in Boston. Author Christopher Finch reported that Stone, who had worked with Henson previously, felt that if they could not bring him on board, they should "make do without puppets". Henson was initially reluctant, but he agreed to join Sesame Street to meet his own social goals. He also agreed to waive his performance fee for full ownership of the Sesame Street Muppets and to split any revenue they generated with the CTW. As Morrow stated, Henson's puppets were a crucial part of the show's popularity and it brought Henson national attention.Morrow, p. 93 Davis reported that Henson was able to take "arcane academic goals" and translate them to "effective and pleasurable viewing".Davis, p. 163 In early research, the Muppet segments of the show scored high, and more Muppets were added during the first few seasons. Morrow reported that the Muppets were effective teaching tools because children easily recognized them, they were stereotypical and predictable, and they appealed to adults and older siblings.Morrow, pp. 94–95 Although the producers decided against depending upon a single host for ''Sesame Street, instead casting a group of ethnically diverse actors,Lesser, p. 99 they realized that a children's television program needed to have, as Lesser put it, "a variety of distinctive and reliable personalities",Lesser, p. 125 both human and Muppet. Jon Stone, whose goal was to cast white actors in the minority, was responsible for hiring the show's first cast. He did not audition actors until Spring 1969, a few weeks before the five test shows were due to be filmed. Stone videotaped the auditions, and Ed Palmer took them out into the field to test children's reactions. The actors who received the "most enthusiastic thumbs up" were cast.Borgenicht, p. 15 For example, Loretta Long was chosen to play Susan when the children who saw her audition stood up and sang along with her rendition of "I'm a Little Teapot".Davis, p. 172 Stone stated that casting was the only aspect of the show that was "just completely haphazard".Davis, p. 195 Most of the cast and crew found jobs on Sesame Street through personal relationships with Stone and the other producers. According to puppeteer Marty Robinson in 2019, longevity was common among the show's cast and crew. and Ernie characters.]] According to the CTW's research, children preferred watching and listening to other children more than to puppets and adults, so they included children in many scenes.Lesser, p. 127 Dave Connell insisted that no child actors be used,Morrow, p. 84 so these children were non-professionals, unscripted, and spontaneous. Many of their reactions were unpredictable and difficult to control, but the adult cast learned to handle the children's spontaneity flexibly, even when it resulted in departures from the planned script or lesson.Lesser, pp. 127–128 CTW research also revealed that the children's hesitations and on-air mistakes served as models for viewers.Gikow, p. 123 According to Morrow, this resulted in the show having a "fresh quality", especially in its early years. Reception Ratings When Sesame Street premiered in 1969, it aired on only 67.6% of American televisions, but it earned a 3.3 Nielsen rating, which totaled 1.9 million households.Seligsohn, Leo. (February 9, 1970). "Backstage at Sesame Street". New York Newsday. Quoted in Davis, p. 197. By the show's tenth anniversary in 1979, nine million American children under the age of 6 were watching Sesame Street daily. According to a 1993 survey conducted by the U.S. Department of Education, out of the show's 6.6 million viewers, 2.4 million kindergartners regularly watched it. 77% of preschoolers watched it once a week, and 86% of kindergartners and first- and second-grade students had watched it once a week before starting school. The show reached most young children in almost all demographic groups. The show's ratings significantly decreased in the early 1990s, due to changes in children's viewing habits and in the television marketplace. The producers responded by making large-scale structural changes to the show. By 2006, Sesame Street had become "the most widely viewed children's television show in the world", with 20 international independent versions and broadcasts in over 120 countries. A 1996 survey found that 95% of all American preschoolers had watched the show by the time they were three years old. In 2008, it was estimated that 77 million Americans had watched the series as children. By the show's 40th anniversary in 2009, it was ranked the fifteenth-most-popular children's show on television, and by its 50th anniversary in 2019, the show had 100% brand awareness globally. In 2018, the show was the second-highest-rated program on PBS Kids. Influence As of 2001, there were over 1,000 research studies regarding Sesame Street s efficacy, impact, and effect on American culture. The CTW solicited the Educational Testing Service (ETS) to conduct summative research on the show. ETS's two "landmark"Mielke in Fisch & Truglio, p. 88 summative evaluations, conducted in 1970 and 1971, demonstrated that the show had a significant educational impact on its viewers. These studies have been cited in other studies of the effects of television on young children.Mielke in Fisch & Truglio, p. 85 Additional studies conducted throughout Sesame Street s history demonstrated that the show continued to have a positive effect on its young viewers. Lesser believed that Sesame Street research "may have conferred a new respectability upon the studies of the effects of visual media upon children".Lesser, p. 235 He also believed that the show had the same effect on the prestige of producing shows for children in the television industry. Historian Robert Morrow, in his book Sesame Street and the Reform of Children's Television, which chronicled the show's influence on children's television and on the television industry as a whole, reported that many critics of commercial television saw Sesame Street as a "straightforward illustration for reform".Morrow, p. 122 Les Brown, a writer for Variety, saw in Sesame Street "a hope for a more substantial future" for television. Morrow reported that the networks responded by creating more high-quality television programs, but that many critics saw them as "appeasement gestures".Morrow, p. 127 According to Morrow, despite the CTW Model's effectiveness in creating a popular show, commercial television "made only a limited effort to emulate CTW's methods", and did not use a curriculum or evaluate what children learned from them.Morrow, p. 130 By the mid-1970s commercial television had abandoned their experiments with creating better children's programming.Morrow, p. 132 Other critics hoped that Sesame Street, with its depiction of a functioning, multicultural community, would nurture racial tolerance in its young viewers.Morrow, p. 124 It was not until the mid-1990s that another children's television educational program, Blue's Clues, used the CTW's methods to create and modify their content. The creators of Blue's Clues were influenced by Sesame Street, but wanted to use research conducted in the 30 years since its debut. Angela Santomero, one of its producers, said, "We wanted to learn from Sesame Street and take it one step further".Gladwell, p. 111 Critic Richard Roeper said that perhaps one of the strongest indicators of the influence of Sesame Street has been the enduring rumors and urban legends surrounding the show and its characters, especially speculation concerning the sexuality of Bert and Ernie. Critical reception Sesame Street was praised from its debut in 1969. Newsday reported that several newspapers and magazines had written "glowing" reports about the CTW and Cooney. The press overwhelmingly praised the new show; several popular magazines and niche magazines lauded it.Morrow, pp. 119–120 In 1970, Sesame Street won twenty awards, including a Peabody Award, three Emmys, an award from the Public Relations Society of America, a Clio, and a Prix Jeunesse.Morrow, p. 119 By 1995, the show had won two Peabody Awards and four Parents' Choice Awards. In addition, it was the subject of retrospectives at the Smithsonian Institution and the Museum of Modern Art. , Executive Vice-President Terry Fitzpatrick, and puppeteer Kevin Clash (with Elmo) at the 69th Annual Peabody Awards, in 2010]] Sesame Street was not without its detractors, however. The state commission in Mississippi, where Henson was from, operated the state's PBS member station; in May 1970 it voted to not air Sesame Street because of its "highly racially integrated cast of children" which "the commission members felt ... Mississippi was not yet ready for"."Mississippi Agency Votes for a TV Ban on 'Sesame Street'". (May 3, 1970). The New York Times. Quoted in Davis, p. 202 According to Children and Television, Lesser's account of the development and early years of Sesame Street, there was little criticism of the show in the months following its premiere, but it increased at the end of its first season and beginning of the second season.Lesser, pp. 174–175 Historian Robert W. Morrow speculated that much of the early criticism, which he called "surprisingly intense",Morrow, p. 3 stemmed from cultural and historical reasons in regards to, as he put it, "the place of children in American society and the controversies about television's effects on them". According to Morrow, the "most important" studies finding negative effects of ''Sesame Street were conducted by educator Herbert A. Sprigle and psychologist Thomas D. Cook during its first two seasons.Morrow, pp. 146–147 Social scientist and Head Start founder Urie Bronfenbrenner criticized the show for being too wholesome. Psychologist Leon Eisenberg saw Sesame Street s urban setting as "superficial" and having little to do with the problems confronted by the inner-city child.Morrow, p. 98 Head Start director Edward Zigler was probably Sesame Street s most vocal critic in the show's early years.Morrow, p. 147 In spite of their commitment to multiculturalism, the CTW experienced conflicts with the leadership of minority groups, especially Latino groups and feminists, who objected to Sesame Street s depiction of Latinos and women.Morrow, pp. 157–158 The CTW took steps to address their objections. By 1971, the CTW hired Hispanic actors, production staff, and researchers, and by the mid-1970s, Morrow reported that "the show included Chicano and Puerto Rican cast members, films about Mexican holidays and foods, and cartoons that taught Spanish words".Morrow, p. 155 As The New York Times has stated, creating strong female characters "that make kids laugh, but not...as female stereotypes" has been a challenge for the producers of Sesame Street.Gikow, p. 142 According to Morrow, change regarding how women and girls were depicted on Sesame Street occurred slowly.Morrow, p. 156 As more female Muppet performers like Camille Bonora, Fran Brill, Pam Arciero, Carmen Osbahr, Stephanie D'Abruzzo, Jennifer Barnhart, and Leslie Carrara-Rudolph were hired and trained, stronger female characters like Rosita and Abby Cadabby were created.Gikow, p. 143 In 2002, Sesame Street was ranked number 27 on TV Guide's 50 Greatest TV Shows of All Time. Sesame Workshop won a Peabody Award in 2009 for its website, sesamestreet.org, and the show was given Peabody's Institutional Award in 2019 for 50 years of educating and entertaining children globally. in 2013, TV Guide ranked the show number 30 on its list of the 60 best TV series. As of 2018, ''Sesame Street'' has received 189 Emmy Awards, more than any other television series. See also * Sesame Street international co-productions * List of accolades received by Sesame Street * [[List of human Sesame Street characters|List of human Sesame Street characters]] * [[Pop culture influenced by Sesame Street|Pop culture influenced by Sesame Street]] * ''Sesame Street'' (comic strip) Notes References Works cited * Borgenicht, David (1998). Sesame Street Unpaved. New York: Hyperion Publishing. * Clash, Kevin, Gary Brozek, and Louis Henry Mitchell (2006). My Life as a Furry Red Monster: What Being Elmo has Taught Me About Life, Love and Laughing Out Loud. New York: Random House. * Davis, Michael (2008). [https://books.google.com/books?id=i3ilsEuFUkAC&printsec=frontcover Street Gang: The Complete History of Sesame Street]. New York: Viking Penguin. * Finch, Christopher (1993). Jim Henson: The Works: the Art, the Magic, the Imagination. New York: Random House. * Fisch, Shalom M. and Rosemarie T. Truglio, Eds. (2001). "G" is for Growing: Thirty Years of Research on Children and Sesame Street. Mahweh, New Jersey: Lawrence Erlbaum Publishers. ** Cooney, Joan Ganz, "Foreword", pp. xi–xiv. ** Palmer, Edward and Shalom M. Fisch, "The Beginnings of Sesame Street Research", pp. 3–24. ** Fisch, Shalom M. and Lewis Bernstein, "Formative Research Revealed: Methodological and Process Issues in Formative Research", pp. 39–60. ** Mielke, Keith W., "A Review of Research on the Educational and Social Impact of Sesame Street", pp. 83–97. ** Cole, Charlotte F., Beth A. Richman, and Susan A. McCann Brown, "The World of Sesame Street Research", pp. 147–180. ** Cherow-O'Leary, Renee, "Carrying Sesame Street Into Print: Sesame Street Magazine, Sesame Street Parents, and Sesame Street Books" pp. 197–214. * Gikow, Louise A. (2009). Sesame Street: A Celebration— Forty Years of Life on the Street. New York: Black Dog & Leventhal Publishers. . * Gladwell, Malcolm (2000). The Tipping Point: How Little Things Can Make a Big Difference. New York: Little, Brown, and Company. * Lesser, Gerald S. (1974). Children and Television: Lessons From Sesame Street. New York: Vintage Books. * Morrow, Robert W. (2006). Sesame Street and the Reform of Children's Television. Baltimore, Maryland: Johns Hopkins University Press. * O'Dell, Cary (1997). Women Pioneers in Television: Biographies of Fifteen Industry Leaders. Jefferson, North Carolina: McFarland & Company. . External links * * * [http://pbskids.org/sesame/ Sesame Street] on PBSKids.org * * }} Category:1969 American television series debuts Category:1960s American children's comedy television series Category:1970s American children's comedy television series Category:1980s American children's comedy television series Category:1990s American children's comedy television series Category:2000s American children's comedy television series Category:2010s American children's comedy television series Category:1960s American satirical television series Category:1970s American satirical television series Category:1980s American satirical television series Category:1990s American satirical television series Category:2000s American satirical television series Category:2010s American satirical television series Category:1960s American sketch comedy television series Category:1970s American sketch comedy television series Category:1980s American sketch comedy television series Category:1990s American sketch comedy television series Category:2000s American sketch comedy television series Category:2010s American sketch comedy television series Category:American television programs featuring anthropomorphic characters Category:American television programs featuring puppetry Category:American television series with live action and animation Category:Children's sketch comedy Category:Early childhood education Category:Early childhood education in the United States Category:Emmy Award-winning programs Category:English-language television programs Category:Fictional neighborhoods Category:Fictional streets and roads Category:Fiction about monsters Category:Peabody Award-winning television programs Category:PBS Kids shows Category:PBS network shows Category:Preschool education television series Category:Sesame Street Category:Sesame Workshop Category:Television programs adapted into films Category:Television programs adapted into comics Category:Television programs adapted into novels Category:Television programs adapted into video games Category:Television series by Sesame Workshop Category:Television shows filmed in New York (state) Category:Television shows set in New York City